by Joseph Szalinski
Conflict is an essential element of life. As much as we try to avoid it, it attracts us. When it’s in inadequate abundance in our own lives, or we must escape our own misfortune through someone else’s, we seek it in story. Especially ones performed onstage. No show better satirizes conflict than “God of Carnage”, the Tony-Award winning play written by Yasmina Reza, translated by Christopher Hampton, and helmed this time around by Brandon Farneth, who is directing it for The Theatre Factory at the Trafford Performing Arts Center in Trafford, PA.
Translated from French in 2008 and put on Broadway the following year, this acclaimed black comedy was later adapted into a 2011 film by the infamous Roman Polanski. A humorous meditation on bark being worse than bite—well, Henry’s bite after Benjamin whacks him in the face with a stick and knocks out two teeth. At least Henry knows what to ask for, for Christmas. This show examines a host of heavy themes in a very playfully deranged way. As someone who’s worked in various levels of education, I can honestly say that parents can often get more carried away than their own children.
Mike Byrne wonderfully embodies Alan Raleigh, a lawyer and the father of the assailant, Benjamin. While he initially comes across as someone who seems to absolutely subscribe to justice and order, later, he’s casually resigned to the fact that Benjamin’s savage ways cannot be curbed. He makes amusing work of his revolving allegiance, mostly siding with his wife, Annette (Rebekah Hukill), but siding with Michael (Jim Froehlich) when issues of manhood arise.
Veronica Novak comes to life thanks to Jennifer Fitzgerald. Her effortless switch from congenial host to vicious defender of Henry is awesome. Steadfast in her position, the passion in her championing civility is absolutely palpable.
Jim Froehlich delivers an amazing performance as the endearingly pathetic Michael Novak. Presented as a civil gentleman, softened by marriage and fatherhood, he secretly harbors an inner “neanderthal” that is gradually revealed throughout the discussion. His desperate attempts to seem macho by smoking cigars and drinking liquor are just as funny as his mounting outrage toward his ill mother and her constant phone calls.
Rebekah Hukill does a marvelous job as Annette Raleigh, Benjamin’s mother and the second surprisingly bleak adult in that family. She’s phenomenally loyal when it’s parents vs. parents, but the moment men and women are pitted against each other or Alan just keeps getting calls, all bets are off. She starts to make one wonder who Benjamin really takes after. Rebekah operates with great comedic ease both verbally and physically.
It’s not just the performances that dazzle, this show excels technically as well. The outfits provided by the cast perfectly suit the characters and flesh out their personalities. Set, masterminded by Frankie Shoup, is a thoughtfully designed living area that deals with spatial limitations in a way that made the available space seem boundless. The lighting (Bill Jacka) and sound (Matt Mlynarski) are executed perfectly, the latter especially with the various phone calls. There’s a rather gross technical achievement a little way into the show that’s disgustingly well done. Prop-wise, everything is realistic and purposeful. Nothing seems unnecessary or out of place. Like the outfits, props help the characters take shape more, even subtly, or, at the very least, provide some entertainment.
Shows like “God of Carnage” are good not just for the artform, but also for the many theatres/companies that put them on. Here is a very unique show but one that is also very relatable. Including productions like this shake up the monotony that can be community theatre. Audiences who aren’t typically exposed to certain things can then begin to discover the power of drama. It also gives performers and crew members opportunities to show off their talents in unusual ways. And there is a great deal of talent from The Theatre Factory at the Trafford Performing Arts Center.
“God of Carnage” continues its run May 2nd-4th at the Trafford Performing Arts Center in Trafford, PA
